Julie Roset, Stanislas de Barbeyrac, Nahuel Di Pierro, Le Concert de la Loge & Julien Chauvin
Biographie Julie Roset, Stanislas de Barbeyrac, Nahuel Di Pierro, Le Concert de la Loge & Julien Chauvin
Julie Roset
As Grand Winner of the 2022 Metropolitan Opera Laffont Competition, French soprano Julie Roset went on to take First Prize at Plácido Domingo’s Operalia in 2023 and was crowned ‘Révélation Lyrique’ at Les Victoires de la Musique Classique in 2025. Breakthrough performances as Zémire (Zémire et Azor) at Opéra Comique brought unanimous acclaim, with Le Figaro writing “the young soprano catches the light with her singing, as natural as it is intelligent”.
Making an impressive debut at Opéra National de Paris as Amour (Médée) in David McVicar’s new production of Charpentier’s opera under William Christie, Julie Roset went on to join Raphaël Pichon and Claus Guth in an acclaimed staging of Rameau’s Samson at Festival d’Aix-en-Provence and subsequently at Opéra Comique. Additional highlights include Euridice and La Musica (L’Orfeo) in Sasha Waltz & Guests’ widely appreciated production at Teatro Real Madrid, and Ted Huffman’s inspired staging of L’incoronazione di Poppea at Festival d’Aix-en-Provence, both conducted by Leonardo García Alarcón.
Across a glittering 2025/26 season Julie Roset demonstrates her innate versatility in a series of significant debuts, notably at the Metropolitan Opera as Fiakermilli (Arabella) under Nicholas Carter, at Opéra Comique as Sophie (Werther) in a new staging by Ted Huffman and conducted by Raphaël Pichon and as Blonde (Die Entführung aus dem Serail) at Glyndebourne Festival Opera under Louis Langrée. She also joins Rotterdam Philharmonic Orchestra as Waldvogel (Siegfried) led by Yannick Nézet-Séguin and performs Carmina Burana with Toronto Symphony Orchestra under Gustavo Gimeno. Her debut solo recital disc, M’a dit amour (Alpha Classics), with pianist Susan Manoff, will be launched with performances in Paris, Prague, Nantes, and Barcelona.
Julie Roset made her debut with Orchestre de Paris in Romeo Castellucci’s deeply felt staging of Mahler, Symphony No.2 under Esa-Pekka Salonen, making her Salzburg Easter Festival debut in the same work, and further building her concert repertoire with performances of Händel, Messiah, Bach, Weihnachtsoratorium, Haydn, Die Schöpfung and Bach, St Matthew Passion. In concertante performance she has twice appeared at Salzburger Festspiele with Adam Fischer and Mozarteum Orchester, as Tamiri in Il re pastore and as Ismene in Mitridate, re di Ponto and as Belinda (Dido and Aeneas) with Danish National Symphony Orchestra and in Acis and Galatea with l’Orchestre Philharmonique de Radio France.
At the same time, her close collaborations with leading baroque ensembles have helped shape her artistic identity, and she maintains enduring ties with Cappella Mediterranea, Le Concert de la Loge, Les Arts Florissants, and Twelfth Night, with whom she made her Carnegie Hall debut in Elemental, a curated programme of baroque arias. With her own ensemble, La Néréide, she features on Luzzaschi: Il concerto segreto (Ricercar, 2023) and the forthcoming Le cœur et la raison (Alpha Classics) due for release this season.
Julie Roset’s musical education began at the Conservatoire du Grand Avignon, followed by a degree with honours from the Haute École de Musique de Genève. She went on to gain an Artist Diploma in Opera Studies at the Juilliard School in 2022, laying the foundation for a career that has already recognised her unique artistry, intelligence, and emotional depth.
Stanislas De Barbeyrac
One of the most exciting and in-demand artists today, French tenor Stanislas de Barbeyrac came to international attention in 2014 when he sang his first Tamino in Die Zauberflöte at Festival d’Aix-en-Provence. A complex and compelling musician and actor, he has received critical acclaim on many of the world’s most prestigious stages, including the Opéra National de Paris, London’s Royal Opera, the Vienna State Opera, the Metropolitan Opera, the Bayerische Staatsoper, the Dutch National Opera, the Teatro Real de Madrid, the Grand Théâtre de Genève, the San Francisco Opera, Festival d’Aix-en-Provence and Salzburg Festival.
De Barbeyrac opens his 2025/26 season as Siegmund in Die Walküre at the Opéra National de Paris – the role he reprises later in the season at the Baltic Opera Festival in Sopot. He sings his signature role of Don José in Carmen at the Zurich Opera House, performing alongside Elīna Garanča in a production by Andreas Homoki. At the Metropolitan Opera, he returns as Lensky in Eugene Onegin, directed by Tony Award–winner Deborah Warner, and appears at the Bayerische Staatsoper as Max in Der Freischütz, staged by Dmitri Tcherniakov and conducted by Daniele Rustioni. In concert, de Barbeyrac presents TRIP – Recital Augmenté at the Théâtre des Quatre Saisons in Gradignan, a collaborative project with pianist Alphonse Cemin and composer-percussionist Camille Rocailleux that reimagines the traditional recital format by blending classical arias with new compositions.
Highlights of previous seasons include Siegmund in Die Walküre at the Royal Opera House in a new production by Barrie Kosky and conducted by Sir Antonio Pappano, a role he also has performed extensively in concert. He appeared as Erik in Der fliegende Holländer at Staatsoper Berlin and at the Palau de les Arts Reina Sofía in Valencia, and his portrayal of Don José in Carmen has been heard at the Staatsoper Berlin, Dutch National Opera, Opéra National de Bordeaux, and Opéra de Rouen. He has brought his interpretation of Tamino in Die Zauberflöte, a pivotal role in his career, to Festival d’Aix-en-Provence, Dutch National Opera, Chorégies d’Orange, Opéra de Paris, Opernhaus Zürich, Grand Théâtre de Genève, and Teatro Real de Madrid.
De Barbeyrac has sung Pylade in Iphigenie en Tauride at the Greek National Opera and the Festival d’Aix-en-Provence, the title role in Pelléas et Mélisande at Gran Teatre del Liceu, Opéra National de Bordeaux, Théâtre des Champs-Elysées, in Tokyo, and in concert in Cologne and Compiègne. He was heard as Jason in Cherubini’s Médée at Teatro alla Scala, Max in Der Freischütz at Semperoper Dresden, Florestan in Fidelio with Insula Orchestra under Laurence Equilbey, and the title role in La clemenza di Tito at Opéra National de Paris.
Other notable roles include Piquillo in Offenbach’s La Périchole at the Théâtre des Champs-Élysées, Arbace in Idomeneo at the Royal Opera House, Lensky in Eugene Onegin at Théâtre du Châtelet, and Chevalier de la Force in Poulenc’s Dialogues des Carmélites at Théâtre des Champs-Élysées, Bayerische Staatsoper, Théâtre Royal de la Monnaie in Brussels, Teatro Comunale in Bologna, and Dutch National Opera.
On the concert stage in recent seasons, de Barbeyrac has appeared with world-class orchestras and ensembles. At the Salzburg Festival, he performed the first act of Die Walküre in concert with the Vienna Philharmonic under Yannick Nézet-Séguin. He also sang Mozart’s Requiem and Great Mass in C minor with the Chamber Orchestra of Europe under Nézet-Séguin at the Baden-Baden Summer Festival, and Verdi’s Requiem with the Philharmonia Orchestra under Santtu Matias Rouvali. Other notable performances include Beethoven’s Missa Solemnis with the Oslo Philharmonic under Klaus Mäkelä, Mozart’s Davide Penitente and Haydn’s Creation at the Salzburg Festival, Mozart’s Requiem at the Verbier Festival, concerts with Gaëlle Arquez at the Festival d’Auvers-sur-Oise, and Licinius at Palazzetto Bru Zane.
Stanislas de Barbeyrac studied at the Conservatoire de Bordeaux with Lionel Sarazzin, who remains his vocal mentor today. He has been a prize-winner at several prestigious competitions, including the Prix du Cercle Carpeaux, Prix Lyriques de l’AROP, and Queen Elisabeth International Competition in Brussels. De Barbeyrac joined the Atelier Lyrique of the Opéra de Paris in 2008 and subsequently began his operatic career at theatres in Nice, Tours, Toulon, Strasbourg, Metz, Marseille and Avignon.
Nahuel di Pierro
A universally renowned interpreter of baroque, classical and bel canto repertoire, Bass Nahuel Di Pierro is one of the most in demand singers of our generation. Born in Buenos Aires, he studied at the Instituto Superior de Arte at the Teatro Colón. He later joined the Paris Opera Studio and participated in the Young Singers Project at the Salzburg Festival. Highlights of the 2024-25 season include Claudio in Agrippina at Opernhaus Zürich with conductor Harry Bicket, Don Alfonso in Così fan tutte at Teatro Comunale di Bologna and Mustafa in L’italiana in Algeri at Théâtre des Champs-Élysées. In concert, Nahuel performs Haydn’s Die Schöpfung with Le Concert de la Loge at Musikfest Bremen and Rheingau Musik Festival, and in recital, he will appear with pianist Alphonse Cemin at Théâtre de l’Athénée, Paris.
In the 2023-24 season, Nahuel made his debut at Teatro alla Scala, Milan, with Cherubini’s Médée, later returning to perform the role of Walter Furst in Guillaume Tell, and at the Donizetti Opera Festival in Bergamo in the role of Noè in Donizetti’s Il Diluvio Universale. He also returned to the Festival d’Aix-en-Provence for the role of Achisch in Rameau/Voltaire’s Samson and to Opernhaus Zürich for Selim in Il Turco in Italia. On the concert stage, Nahuel appeared at the Mozartwoche in Salzburg with conductor Andrés Orozco-Estrada and the Wiener Philharmoniker, at the Palau de la Música, Valencia, for Mozart’s Requiem and with the City of Birmingham Symphony Orchestra for Berlioz’s La Damnation de Faust.
In baroque, Nahuel has found great success in roles including Seneca in L’incoronazione di Poppea, the Cold Genius in King Arthur, and Créon in Charpentier’s Médée at Opernhaus Zürich. He has also portrayed Plutone in Rossi’s Orfeo at Opéra Royal de Versailles and Ismenor and Teucer in Rameau’s Dardanus at Opéra National de Bordeaux and Opéra Royal de Versailles, as well as Claudio in Handel’s Agrippina at Drottningholm. In 2023, he made his debut at the Gran Teatro del Liceu in Barcelona, once again performing as Seneca in L’incoronazione di Poppea.
Julien Chauvin
was attracted at an early age by the Baroque revolution and the new wave of historically informed performance practice using period instruments and moved to the Netherlands to train at the Royal Conservatory of The Hague with Vera Beths, who founded L’Archibudelli with Anner Bylsma. In 2003, he was a prizewinner at the International Early Music competition in Bruges. Since then, he has performed as a soloist, before founding in 2005 Le Cercle de l’Harmonie, which he directed jointly with Jérémie Rhorer for ten years.
Realising his desire to bring back to life a celebrated ensemble of the eighteenth century, in 2015 Julien Chauvin formed a new orchestra, Le Concert de la Loge. The ambitions of this modern recreation have been demonstrated by its exploration of forgotten works from the French orchestral and vocal-operatic repertory and concert formats encouraging spontaneous and imaginative reactions from the audience.
In parallel with this, he continues his collaboration with the Quatuor Cambini-Paris, formed in 2007, with which he performs the string quartets of Jadin, David, Gouvy, Mozart, Gounod and Haydn.
Julien Chauvin explores musical direction in the late 18th century’s spirit, where a great diversity of ways to “conduct” music could be observed. Thereby, he adapts his conduct according to repertoires, staffing or the scores constraints while conducting from his violin, bow or baton.
Julien Chauvin also conducts operatic productions such as Era la notte staged by Juliette Deschamps with Anna Caterina Antonacci, Lemoyne’s Phèdre and Isouard’s Cendrillon staged by Marc Paquien for the Palazzetto Bru Zane; Haydn’s Armida directed by Mariame Clément; Sacchini’s Chimène ou le Cid staged by Sandrine Anglade and Mozart’s Die Entführung aus dem Serail in a production by Christophe Rulhes.
He also appears as guest conductor with orchestras and ensembles including the Kammerorchester Basel, the Gürzenich-Orchester in Cologne, the Orchestre de Chambre de Paris, the Orchestre national d’Avignon-Provence, the Orchestre national de Metz, the Orchestre national de Cannes, the Orchestre de l’opéra de Limoges, the Esterházy Hofkapelle Orchestra, the Orkiestra Historyczna in Katowice, the Folger Consort in Washington, Les Violons du Roy in Montreal and the Arion Orchestre Baroque de Montréal.
Julien Chauvin’s discography includes concertante works by Haydn, Beethoven and Berlioz for the Alpha, Naïve, Eloquentia and Ambroisie labels. He regularly records lyricrepe recitals with great soloists, operas or sacred repertoire.
In addition to his concert activities, Julien Chauvin also devotes himself to teaching in orchestral sessions or masterclasses at the Conservatoires Nationaux de Musique et de Danse of both Paris and Lyon, the École Normale de musique de Paris, the Opéra national de Paris Academy and the Orchestre Français des Jeunes.
Julien Chauvin is Knight of the Order of the Arts and Letters.
Julien Chauvin plays on a 1785 Giuseppe Guadagnini violin loaned as part of the “Adopt a Musician” project, an initiative of Music Masterpiece in Lugano.
